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Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1202170 Composed by William Billings (1746-1800). Arranged by Todd Marchand. Christian,Easter,Sacred. Score and parts. 13 pages. Con Spirito Music #800831. Published by Con Spirito Music (A0.1202170). Ideal as a prelude or postlude to Easter Sunday and Eastertide services of worship, “Easter Anthem†originated as a choral work by William Billings (1746-1800) with text excerpted from Night Thoughts on Life, Death, and Immortality, an extensive blank-verse poem by the English poet Edward Young (1683-1765) published in nine parts (or “nightsâ€) from 1742 to 1745.Born in Boston, Billings was self-taught in music — a tanner by trade — and he was renowned as a singing master and proponent of the singing-school tradition of American folk culture. Considered the ï¬rst native-born American composer, his works include hymns, anthems, psalms, and fuging tunes.“Easter Anthem†is exemplary of his compositional style, which is noted for rhythmic vitality and straightforward harmonies. Exuberantly glorious, it celebrates the resurrection of Christ and the salvation of the world from its opening acclamation, “The Lord is risen indeed! Hallelujah!†to its closing declaration, Thine all the glory, man’s the endless bliss!The Lord is risen indeed! Hallelujah!Now is Christ risen from the dead,And become the ï¬rst fruit of them that slept.Hallelujah!And did he rise?Hear, O ye nations! Hear it, O ye dead!He rose! He burst the bars of death,And triumph'd o'er the grave.Then I rose!Then ï¬rst humanity triumphantPass'd the crystal ports of light,And seiz'd eternal youth.Man, all immortal, Hail!Heaven, all lavish of strange gifts to man,Thine all the glory! Man's the boundless bliss!This joyful work, which explores various combinations of choral voices, is well-suited to the sonorities of the brass quintet. In this arrangement, tempo indications, dynamic markings and articulations, as well as a newly composed timpani part, have been added by the arranger.©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com
Easter Anthem (William Billings) — brass quintet, timpani
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

$15.00 13.01 € Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba PDF SheetMusicPlus

Piano and voice - Digital Download SKU: LV.15430 Composed by S. Nelson. Portraits, African Americans, Memorial works, Slavery. Lester S. Levy Collection. 7 pages. Published by Johns Hopkins University Sheridan Libraries (LV.15430). The Emancipated Negro. A Tribute to the Memory of William Wilberforce. [Inside back cover Lines to the Memory of the late William Wilberforce; Back cover Poem The Emancipated Negro]. Written by Charles Jefferys. Composed by S. Nelson. Published 1833 by Leoni Lee, Music Seller to his Majesty, 17, Old Bond St. in London. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Portraits, African Americans, Memorial works, Slavery. First line reads Another Spirit bursts its bonds, Another Soul is free.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
The Emancipated Negro. A Tribute to the Memory of William Wilberforce
Piano, Voix

$5.99 5.2 € Piano, Voix PDF SheetMusicPlus

String Quartet String Quartet - Level 5 - Digital Download SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand #4837117. Published by Michael M. Strand (A0.970731). By Mike Strand, ASCAP I wrote this String Quartet in a composition class at the College of William and Mary in 2010.  It is brief and rich with variety, and it involves a technique of mine called fracturing (see note* below).  This causes the dissonance you'll hear in parts of this work.On one occasion, when I felt stressed, I enjoyed listening to Morton Feldman's String Quartet II (1983), which lasts about 6 hours.  This quiet but lovely music soothed and pacified me.  On the other hand, if you want something to energize and alert you in less than 11 minutes, this quartet may be for you --  whenever you acquire a recording of it by some lucky quartet ensemble.  Have a cup of coffee with it, for insurance!In the meantime, enjoy the audio sample, Movement I of my quartet.  This alone may suffice to get you going, in only two and a half minutes. String Quartet - William and Mary:   Four movements, total time 10:45: I. Allegro moderato (2:32) A tango-like dance movement: Preface, Introduction, A, B, A’, C, Coda (two variations). II. Lento (2:44) Counting to twenty in 5-4, 4-4, and 12-8 time. 5-4 time predominates (five groups of four measures each), then 4-4 (two groups of five measures each) and 12-8 (one group of five measures). Throughout there are 72 counts per minute, with quarter notes counted in the 5-4 and 4-4 time signatures, and with dotted quarter notes counted in the 12-8 time signature. The five measures of 12-8 also introduce the theme for movement III.Fun with three different time signatures! III. Allegro (2:11) Variations on a Scottish-like folk tune and fragments of it. One variation is an example of tonal pointillism. The closing measures are an extended coda based on a transformed version of the original tune. IV. Swing (3:18) West Coast swing tempo for the Introduction and Part A; triple swing tempo for Part B.  Note* on the fracturing technique This is my method to produce systematically new types of dissonance and corresponding modifications and resolutions. Fracturing consists of changing pitches in a melody or chord as follows: (a) Decide on the root note position within the staff or line of music. (b) Represent the applicable chord in half-step notation, with the root given the value 0. (c) Alternatively subtract and add a prescribed number of half steps from, and to, each successive number in the annotated chord (except for the root). (d) Use the new fractured annotation to define the new pitches. The actual or implied root of the chord (tonal center) remains unchanged. The resulting new chord or melody is thus related or resolvable to the parent tonal harmony or chord. Fracturing appears mainly in the first and third movements, with spare use in the second and fourth movements.
String Quartet - William and Mary
Quatuor à cordes: 2 violons, alto, violoncelle
Mike Strand, ASCAP 

I wrote this String Quartet in a composition class at the College of William and Mary in 2010   It is brief and rich with variety, and it involves a technique of mine called fracturing (see note* below)
$7.00 6.07 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus






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